His main current subject is Research in Psychoacoustics. He is intoextended playing techniques on wind instruments (c-melody saxophone,pocket trumpet, valve trombone, flute), in phonography/ fieldrecordings, and in electronics (feedback mixer, computer/laptop) .Nowadays he investigates radio art, sound poetry and brazilianindigenous music.

Paisagens Sonoras em Õstrõ Hyija is the new full-length release forBrazilian improviser/composer Thelmo Cristovam who has already beenintroduced to Europe through his releases on labels like TIBProd,Krakilsk, Desetxea and Test Tube among others.

In this collection of diverse-natured recordings that took place invarious moments between 2003 and 2006, at v(g)erme mobile, ThelmoCristovam copes with heavily treated acoustic guitar on track 1 (Aço -2003), with c-melody saxophone and amplified objects, all processedbeyond belief on track 2 (Os Jardins Eletromagnéticos de Ur - 2004),with pure field recordings being captured/mixed in real-time on track3 (Pradarias Inversas - 2005) and with concept-specific recordings ofwalls, floors and windows of a building making a sonic collage ofmusique concrète on track 4 (Construções em Barro, Vidro e Plasma - 2006).

Paisagens Sonoras em Õstrõ Hyija deals with abstract sonic fields,those of "Õstrõ Hyija" - "an imaginary place that could be a planet, acity, a country or a dimension", into Thelmo Cristovam's own words.Crafted with utter care, apart from the audio content, also is thegraphic artwork that is based on a collage/painting by Fotini Kallianou.

THELMO CRISTOVAM - PAISAGENS SONORAS EM OSTRO HYIJA (CDR by Triple Bath)Work by Thelmo Cristovam has been reviewed before. He's a member of various groups in the field of improvisation and electronics, such as Hronir, Combo Recife De Improviso and Abillas and plays various wind instruments, such as c-melody saxophone, pocket trumpet, valve trombone and flute in combination with phonograph/field recordings and electronics. The works on 'Paisagens Sonoras Em Ostro Hyija' were made from 2003 to 2006 and sees him exploring also the acoustic guitar in 'Ago' and spaces in 'Construcoes Em Barro, Vidro e Plasma' along with his usual line of instruments. The shortest piece is just under eight minutes and the longest is over twenty-three. That is a bit problematic I think. Not everything he has to say needs that much time. Here is a rule for Cristovam's music: the longer the piece is, the less interesting it is. It seems that Cristovam's likes his sounds very much, especially the fee use of sound effects, and that love he wants to share with us. His music could be'saved' if he would prepared to make some choices and make things a bit more concise, instead of offering a free run of sound material. As it were to get out of the improvisation mood and into composing. Now we hear potentially interesting sounds, but we loose the sight of a composition. There would be a lot to gain I guess. (FdW)Address: http://www.triplebath.gr